When people talk about energetic art, they often imagine a painting capable of radiating harmony, well-being, or positive energy.
It is not a term I usually use to describe my work.
In my paintings, I do not try to infuse an invisible energy or promise a particular feeling to those who look at them. I always begin with something tangible: a face, a story, or a question that keeps returning.
Yet I understand why some people speak about energy when standing before a work of art.
Some paintings, once they enter a home, do not remain silent. They continue to question those who look at them. They evoke memories. Sometimes they comfort us; at other times, they challenge us.
Perhaps the energy of a work of art lies precisely in this relationship.
A Painting Is Not Created Simply to Fill a Wall
When I begin a painting, I am not thinking about which colors might best match an interior.
Research always comes first.
Sometimes it is the story of an Indigenous woman defending her land, a community forced to leave its territory, or an Amazonian plant at risk of disappearing.
At other times, the starting point is more personal. In my Beyond the Double series, for example, I explore a subject I know intimately: being a twin and searching for one’s own identity within an extraordinarily deep bond.
Composition, texture, and color come later. They serve to give visible form to what I am trying to express.
For this reason, I do not see a painting as merely a decorative object. It can certainly inhabit a space and make it more personal, but it also carries with it the journey from which it emerged.
What Makes a Work of Art “Energetic”?
I do not believe that a painting necessarily possesses a mysterious power.
To me, the energy of a work of art is the tension that remains between the story that inspired it, what I have painted, and what each viewer discovers within it.
Those who choose a work from the Amazonia – Indigenous Stories series are not simply bringing home a combination of shapes and colors.
They are connecting with the story of a person, a community, or a place asking not to be forgotten.
In The Grandmother and the River, for example, a Warao woman and a child cross a river in a canoe.
It is an intimate scene, but it also speaks of memory passed from one generation to the next and of a culture where knowledge is preserved through the voices, stories, and gestures of elders.
In We Are the Forest – Souls of the Delta, four Warao children emerge from the vegetation.
They are not simply surrounded by nature—they belong to it. Their expressions speak of the Orinoco Delta, migration, and the risk that, together with a territory, its memories may also disappear.
Even a painting such as We Are People carries a clear statement in its very title.
Before any interpretation, there are human beings asking to be seen and recognized.
Those who encounter these works may not immediately know every story behind them.
At first, they may simply be drawn to a gaze, a color, or the texture of the paint. Yet the story remains within the artwork, revealing itself little by little.
It is this presence that keeps a painting alive over time.
Living with a Work of Art Every Day
A painting asks for a different kind of attention than the endless stream of images we scroll through on our screens.
It cannot be exhausted in a few seconds.
When a work of art enters a home, the subject or the colors may first capture our attention.
Over time, however, other details begin to emerge: a hand, an expression, a rough texture, traces of the original drawing, or layers of paint.
The viewer also changes. Experiences, relationships, and perspectives evolve. For this reason, the same painting can take on new meanings as the years pass.
The artwork itself does not physically change.
What changes is the dialogue between the painting and the person who lives with it.
The Value of the Human Gesture
At a time when images can be created and replicated with remarkable ease, an original work of art preserves something that cannot be repeated: the time devoted to its creation.
My paintings retain the layers of oil paint, the first lines of the drawing, the corrections, and every change made throughout the creative process.
Sometimes part of a painting comes to life with certainty.
Other times it requires waiting, reconsideration, and several new approaches.
Even what I initially perceive as a mistake can suggest an unexpected direction.
These traces belong to that specific work alone and can never be reproduced in exactly the same way.
Buying an original painting therefore also means embracing the time, the study, and the countless decisions that brought it into existence.
How to Choose a Work of Art
The size of the wall and the relationship between the artwork and its surroundings certainly matter. A painting needs space to breathe.
But I do not believe these should be the first criteria.
Instead, I would ask myself:
- Why do I keep looking at it?
- What is holding my attention?
- Is there a detail that intrigues me or a story that feels close to me?
There is no need to understand everything immediately.
A relationship with a work of art can begin with a feeling that is difficult to explain.
The question is not only:
“Does it fit this room?”
It is also:
“Do I want to keep meeting this artwork every day?”
A Presence, Not a Promise
I do not believe a painting must necessarily reassure us.
It can bring beauty, but it can also raise questions, reveal distant realities, or remind us of things we would rather not see. It can accompany us without offering easy answers.
When someone chooses one of my works, what matters most to me is that they feel a genuine connection.
But I also want them to know that behind every image there is research, a story, and a sense of responsibility.
Perhaps this is the meaning I can recognize in the expression “energetic art.”
Not an object that magically promises to transform the atmosphere of a room, but a presence capable of gradually changing the way we look at it.
And perhaps, in time, the way we look at the world beyond that room.
You can explore my paintings and the different series in my portfolio.
To check the availability of a painting or request further information, please contact me directly.
